PICTURE MUSIC
(1973)
Brain Records
Program: FACE 1: Totem (23'45)
FACE 2: Mental Door (23'00)
After Irrlicht (1972) and CYBORG (1973) invoking the sidereal space, c is a radical change of course we invite Klaus Schulze from his 3rd album. Much his music until attending spheres dark and ethereal, much PICTURE MUSIC arises on an infinitely more LBS. From the first seconds of Totem , starts a pulsing organic no respite will not alter at least until the 15 ° minute. The strangest thing in this first title of the album is that, behind this powerful resonances with sequential pulsing bass, improvised a melody evolves espousing sinuous convolutions of the ARP Odyssey, languorous melody inciting meditation. Thus the contrast between the textures and organic mental unfurl the 23-minute Totem. In the last five minutes of this composition, Klaus Schulze we even offer a magical moment when the partition synthetic freezes while the sound screen is seen smeared with liquid notes colliding in a strangely harmonious cacophony.
This disc also marks the first appearance of synths that bring electronic music to new sounds analog enjoyed the same year the beautiful Phaedra Tangerine Dream of . Listeners of the time, fond of discovery and sensory experiences, welcome the music as they hosted earlier that of Doors and Pink Floyd . The music press is full of praise when it comes to showing the work of avant-garde rock to propel the sphere hitherto uncharted territories.
The comparison between Phaedra and PICTURE MUSIC reserve some surprises as well. Tangerine Dream exploits the new analogue sounds better to transport the listener into another cosmic dimension, as it had done with Schulze CYBORG . Yet PICTURE MUSIC seems to spring from a more intimate space, which are woven the memories. This work atypical Schulze, by which I started in the knowledge of his discography, explores the inner territories directed exclusively to the intellect, if music is surprisingly cerebral which requires no lyrical overflow. Phaedra leads the listener out of himself, PICTURE MUSIC instead brings it to him to confront his unconscious. In this sense, the 3rd installment of Schulze neighbor shows itself in the spirit of Buddhist meditation in his art to fathom the depths of brain waves.
The second title, Mental door, begins and also ends with a long meditative track, but Klaus Schulze breeze abruptly by an improvised synth introduces, totally unexpected movement which it funky we had not used in his first two albums.
Strangely, there are 3 pockets official PICTURE MUSIC . Once is not custom, that of Urs Ammann (a square checkerboard floor to the ceiling where a naked man is crucified) is far from being my favorite. One showing a vacant lot behind the middle of which, abandoned, a picture frame contained a picture of a child fascinates me. This music is that which generates in me the strongest images. From the first listen Totem I designed a movie whose images virtual hug the convolutions of synthesizers. The title of the disc impresses me: Klaus Schulze had he realized the power of his music cinégénique? A few years later, he explained in the booklet MIRAGE, its 8 ° album, his music does it in any pre-established message that freedom is left to the listener to put his own image, to transfer the direction he wants to give it. And no I do not think too hard copy of the artistic process as well appointed PICTURE MUSIC . This music connects me to the child whose traces remain in me. That's why the cover portrait amazes me as much. Rarely have I noticed such a synergy between music and illustration of his pocket.
pouch Urs Ammann
pouch Jacques Wirtz
All things considered, Steve Roach admirer of Schulze the first period, will remember the atmosphere of introspective PICTURE MUSIC appear when his legendary STRUCTURES FROM SILENCE (1984) .
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